Chart Beat
Page: 21
Spaniard Quevedo claims his highest-charting album on any Billboard tally, as his second studio album, Buenas Noches, launches at No. 2 on Latin Pop Albums (dated Dec. 7), for his first entry and top 10 there. The 18-track set concurrently opens at Nos. 29 and 11 on Top Latin Albums and Latin Rhythm Albums, respectively.
Buenas Noches, released Nov. 22 via DQE/Rimas, is Quevedo’s most pop-inclined project to date, and first album with Rimas. Exploring Latin pop sounds with Spanish singer-songwriter Aitana and Pitbull, the 22-year-old also paired with Latin rhythmic greats De La Ghetto, Sech and Rels B.
Trending on Billboard
“It’s an eclectic album,” Quevedo told Billboard. “Since I had not released music for a long time, what I most wanted was to flow in the studio and do things that I felt like doing. Make a fun album above all, not so introspective.”
Buenas Noches debuts at No. 2 on Latin Pop Albums with 4,000 equivalent album units earned in the U.S. during the Nov. 22-28 tracking week, according to Luminate. Streaming contributes most of the debut week activity, which equates to 5.3 million on-demand official streams of the set’s songs.
One unit equals to one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.
While Quevedo secures his first entry and top 10 on Latin Pop Albums with Buenas Noches, the 22-year-old Canarian artist previously scored a top 10 on Latin Rhythm Albums through their debut set Donde Quiero Estar, which also peaked at No. 12 on Top Latin Albums in February 2023.
Notably, with the new album launching in the top 10 on Latin Pop Albums, Quevedo becomes the first artist who primarily records Latin rhythmic songs to secure a No. 2 start on Latin Pop Albums in 2024. Here are all the artists who debuted in the list’s top 10 this year:
Debut Pos., Title, Artist, Debut DateNo. 1, Orquídeas, Kali Uchis, Jan. 27No. 1, Las Mujeres Ya No Lloran, Shakira, April 6No. 6, Final, Vol. 2, Enrique Iglesias, April 13No. 4, Música Buena Para Días Malos, Jay Wheeler, May 11No. 8, García, Kany Garcia, May 11No. 2, Buenas Noches, Quevedo, Dec. 7
Though none of the songs from Buenas Noches preceded the album across the songs charts, Quevedo took the stand-alone single “Columbia” to the stage at the recent Latin Grammy awards. The song earned him his last top 10 the Billboard Excl. U.S. chart, reaching No. 7 high in August 2023.
Lady Gaga and Bruno Mars’ “Die With a Smile” ascends three spots to No. 1 on Billboard’s Adult Pop Airplay chart (dated Dec. 7).
The ballad, on Streamline/Atlantic/Interscope/ICLG, becomes Gaga’s first leader on the radio ranking, and Mars’ fourth. He previously reigned as featured on Mark Ronson’s “Uptown Funk!,” for a week in 2015, and with his own “When I Was Your Man” (two weeks, 2013) and “Just the Way You Are” (five, 2010).
Among her 12 Adult Pop Airplay top 10s, Gaga had reached a prior No. 2 best with two hits: “Shallow,” with Bradley Cooper, in 2019, and “The Edge of Glory,” in 2011.
Gaga tops Adult Pop Airplay 15 years, 11 months and two weeks after she first appeared on the chart dated Dec. 20, 2008, when “Just Dance,” featuring Colby O’Donis, debuted (on its way to a No. 7 peak). She ends the longest wait for a first No. 1 dating to an initial visit to the chart since Elton John and Britney Spears’ “Hold Me Closer” led for a week in March 2022. John ranked (with “Blessed”) on the chart dated March 16, 1996, when the list first published in Billboard’s print edition. Spears arrived on the survey in March 1999 with her breakthrough classic, “…Baby One More Time.”
Trending on Billboard
The Adult Pop Airplay chart ranks songs by weekly plays on 80 adult top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.
Gaga burnishes her overall radio chart résumé, as she also boasts eight No. 1s Pop Airplay, four on Dance/Mix Show Airplay and two on the all-format Radio Songs ranking.
“Die With a Smile” crowned the Billboard Global 200 chart for eight weeks in September-October, the most for any song this year. It has tallied over 100 million streams globally in each of the last 13 weeks (through the Dec. 7-dated chart), the longest such streak since the survey began in September 2020.
On the Billboard Hot 100, “Die With a Smile” has hit a No. 2 high. It has ranked in the top 10 for all 15 of its weeks on the chart so far, dating to its late-August entrance – the most frames in the region consecutively from a debut week for any of Gaga’s 18 top 10s, one-upping “Applause,” which spent its first 14 weeks on the chart in the top 10 in 2013.
Holiday music is one area of pop music where being dead isn’t a hindrance. A slight majority of the songs on Billboard’s Holiday 100, which relaunches this week, are by artists who have passed on. (The exact tally is 52 out of 100 – and six of the top 10.)
Several of the artists who provide the soundtrack to holiday specials, parties and trips to the mall have been dead longer than most of the current pop audience has been alive. Bing Crosby, who sang the Oscar-winning “White Christmas” in the 1942 film Holiday Inn, died in 1977. Elvis Presley, who gave us “Blue Christmas” in 1957, also died that year.
Vince Guaraldi, whose music for A Charlie Brown Christmas has been a part of every holiday season since that Peabody-winning TV special first aired in 1965, died in 1976. Judy Garland, whose “Have Yourself a Merry Little Christmas” has made us misty she introduced it in her 1944 film Meet Me in St. Louis, died in 1969. Nat “King” Cole, who introduced “The Christmas Song” in 1946 when he was fronting The King Cole Trio, died in 1965.
Crosby has seven songs on the current Holiday 100, more than any other departed artist. Cole is tied for second place with Dean Martin, Frank Sinatra and Andy Williams, with four songs each.
Holiday music has greatly extended these and many other artists’ era of relevance. Williams’ last non-holiday song to crack the Hot 100 was in 1976. Martin last charted with a non-holiday song in 1969; Crosby in 1957, the year before the inception of the Hot 100.
When it comes to holiday music, whether an artist is alive or dead doesn’t matter very much. In a way, that’s fitting. Family members who are no longer with us are still frequently part of our holiday traditions. You may serve your holiday dinner on your Grandma’s treasured china, or always make your aunt’s special cranberry sauce, or make a point of playing your mom’s favorite Johnny Mathis Christmas album. You may remember these departed family members when you say grace before dinner – or even bother to say grace at all because they would have wanted it that way.
More than any other time of the year, it’s a time for tradition. And music is very much part of those traditions.
Here are all the artists on the current Holiday 100 (dated Dec. 7, 2024) who are no longer with us. They are ranked in order of the current chart position of their highest-charting song, with other charted songs by the same artist grouped with them. Songs by duos and groups are included if the lead singer on that song has died. We also include the departed leaders of two mostly instrumental acts – Guaraldi, the leader of the Vince Guaraldi Trio, and Paul O’Neill, the founder, instrumentalist and composer of Trans-Siberian Orchestra. The year shown in parentheses is the year the song was first released by that artist. (Some were re-recorded by the same artist multiple times.)
George Michael
Rosé & Bruno Mars’ “APT.” holds at No. 1 for the third consecutive week on the Billboard Japan Hot 100, on the chart released Dec. 4.
Compared to last week, the global hit saw an increase of 115% in streaming, 132% in downloads, and 141% in video views, which is a greater increase overall than the week before. This song also topped Billboard’s Global 200 for the sixth week.
SEVENTEEN‘s “Shohikigen” debuts at No. 2. The title track off the group’s fourth Japan single is being featured as the theme song for the NHK drama series Mirai no Watashi ni Bukkamasareru!?. The track sold 514,234 copies in its first week, the most ever for the group, and came in at No. 1 for sales, No. 29 for downloads and No. 54 for video views.
Explore
See latest videos, charts and news
See latest videos, charts and news
Creepy Nuts’ “Otonoke” follows at No. 3, with streaming down to 96%, downloads to 94%, radio airplay to 56%, and video to 94% compared to the week before.
Trending on Billboard
Mrs. GREEN APPLE’s “Bitter Vacances” debuts at No. 6. The theme for the upcoming live-action movie Saint Young Men rules downloads and comes in at No. 8 for streaming, No. 10 for video, and No. 55 for radio. The latest release by the three-man band is the inaugural No. 1 song on Billboard Japan’s new Hot Shot Songs chart that launched this week, ranking currently trending songs.
In other news, BIGBANG’s “FANTASTIC BABY’ returns to the Japan Hot 100 for the first time in 6 years and 11 months, coming in at No. 55. BIGBANG made headlines at the 2024 MAMA Awards held at Kyocera Dome Osaka on Nov. 23rd, when members SOL and D-LITE appeared unannounced during G-DRAGON’s performance. G-DRAGON’s “HOME SWEET HOME (feat. TAEYANG & DAESUNG)” also bows at No. 21 this week.
As December rolls around, back number’s seasonal staple “Christmas Song” rises 26-19 with streams increasing by 18%. Mariah Carey’s “All I Want For Christmas Is You” also returns to the Japan Hot 100 for the first time in 11 months, with video, streams, downloads, and radio showing increases.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 25 to Dec. 1, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard Hot 100 dated Dec. 14, 2024, we dive into the post-Thanksgiving holiday rush and if it will overwhelm Kendrick Lamar’s Hot 100 dominance.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Kendrick Lamar, “TV Off” and “Squabble Up” (pgLang/Interscope/ICLG): Kendrick Lamar’s surprise-released GNX album debuts atop this week’s Billboard 200 (dated Dec. 7), while absolutely blanketing the Hot 100, with seven songs bowing in the top 10 and 10 in its top 15. That of course includes the No. 1-debuting “Squabble Up” — which halts Shaboozey’s chances of scoring an unprecedented 20th week at No. 1 with “A Bar Song (Tipsy),” at least for now – as well as “TV Off” right behind it, and the SZA collab “Luther” at No. 3. (Lamar also has the Nos. 4 and 5 songs this week, making him one of just four artists in Hot 100 history to simultaneously claim an entire top five.)
Next week, though, Lamar may have two songs competing to be his top-ranking on the chart. The viral “TV Off” has overtaken “Squabble” on both the real-time Apple Music and Daily Top Songs USA Spotify rankings – as has “Luther,” though “TV” still leads both – but “Squabble” has the advantage of both a buzzy music video and an early lead on radio, with 4.6 million in all-format airplay Nov. 29-Dec. 2 (the first four days of the tracking week), according to Luminate. (The other two are also getting some airplay; “TV Off” is at 3.1 million and “Luther,” 2.6 million.)
All three, of course, will invariably be down in consumption as excitement wears off from the GNX surprise release. It’s only wearing off slowly, though – the album still claims the top three Daily Top Songs USA on Spotify, and incredibly, the entire top 10 on Apple Music’s real time chart – so both songs should still be in the mix.
Mariah Carey, “All I Want for Christmas Is You” (Columbia/Legacy): Mariah Season officially kicks off immediately after Halloween, but it always hits a new gear after Thanksgiving wraps. Sure enough, “All I Want for Christmas Is You” has been jing-jing-jingling up the rankings on streaming, sales and radio this week — per building data, it’s the highest-ranking holiday song in all three Hot 100 metrics, with double-digit percentage gains expected in streaming and airplay. The song also returns to the Hot 100’s top 10 this week, at No. 10.
If it can’t capture the top spot next week – and it will be a strong contender to do so — it may get a particular boost the week after, with the Dec. 6 (Friday) release of four physical versions of the 1994 single, in celebration of its 30th anniversary. If and when it does get to No. 1 on the Hot 100, it would mark the song’s 15th week atop the chart – leaving it just four shy of the all-time mark now shared by Shaboozey’s “A Bar Song” and Lil Nas X’s Billy Ray Cyrus-featuring “Old Town Road” — meaning it might not be more than a holiday season or two away from putting that record in its sights.
Brenda Lee, “Rockin’ Around the Christmas Tree” (Decca/MCA Nashville/UMe) & Wham!, “Last Christmas” (Columbia/Legacy): Don’t forget about the artist who briefly snuck in past the Queen of Christmas last year: Brenda Lee, whose “Rockin’ Around the Christmas Tree” finally became a Hot 100 No. 1 for the first time, over 60 years after its original release. Lee’s back this year, and while the promo push isn’t as hard for “Rockin’” as it was in 2023, the song is absolutely still in contention for the top spot, as it leads “All I Want” on Daily Top Songs USA and is right behind it on the overall Hot 100 (at No. 15 this week).
The third-highest Christmas song on this week’s Hot 100 (No. 18) belongs not to traditional holiday bronze medalist Bobby Helms – whose 1957 perennial “Jingle Bell Rock” has ultimately slotted into the No. 3 spot each year since 2019 – but to Wham!’s “Last Christmas,” possibly something of a sentimental favorite this year due to the 1984 synth-pop classic celebrating its 40th anniversary. And like “All I Want,” it may have an extra boost coming to it in the near future: Four physical versions of the single will be on sale on Dec. 13, the week after the Carey physicals, which could finally get it to that No. 3 spot on the next week’s chart – or even higher.
Parmalee earns its fourth leader on Billboard’s Country Airplay chart as “Gonna Love You” jumps 6-1 on the list dated Dec. 7. During Nov. 22-28, it advanced by 28% to 28.8 million audience impressions, according to Luminate.
Explore
See latest videos, charts and news
See latest videos, charts and news
The single, from the band’s upcoming LP, was written by Parmalee frontman Matt Thomas with Abram Dean, David Fanning and Andy Sheridan. It was produced by Fanning (who is also the group’s manager). Parmalee records for Stoney Creek Records, under the Broken Bow Records umbrella.
The act is rounded out by Scott Thomas (Matt’s brother), Barry Knox (a cousin of the Thomases) and Josh McSwain.
Trending on Billboard
The official video for “Gonna Love You” starkly chronicles a shooting involving armed robbers on the band’s bus following a show in 2010, which culminated with Scott Thomas being critically injured.
“‘Gonna Love You’ is personal to all four of us,” the band collectively tells Billboard. “It allowed us to tell our story and film the music video, which recreates the night we were robbed after a show that resulted in a shooting. A lot of people think it’s just a love song, so it’s been amazing hearing and seeing the responses when they see the video and find out what the song is really about. Having it connect with so many people and go to No. 1 is pretty emotional. But at the same time, we’re like, hell yeah … it was the right song at the right time for us.”
“Gonna Love You” follows Parmalee’s “Girl in Mine,” which reached No. 3 on Country Airplay in October 2023. Before that, the group led with “Take My Name,” for two weeks in June 2022, and “Just the Way,” with Blanco Brown (one week, March 2021). The act first reigned with “Carolina” for a week in December 2013 and has scored two additional top 10s: “Already Callin’ You Mine” (No. 10, December 2015) and “Close Your Eyes” (No. 4, December 2014).
Shaboozey Parties On
Shaboozey’s multi-genre smash “A Bar Song (Tipsy)” logs a 24th week atop Hot Country Songs, tying Walker Hayes’ “Fancy Like” (2021-22) and Florida Georgia Line’s “Cruise” (2012-13) for the fifth-longest command since the chart became the genre’s singular songs survey in 1958. The tracktotaled 68.1 million in all-format airplay audience, 20.5 million official U.S. streams and 9,000 sold Nov. 22-28.
A week earlier, “A Bar Song (Tipsy)” tied Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, for the longest command – 19 weeks – in the all-genre Billboard Hot 100’s history.
Zach Top 10
Zach Top’s“I Never Lie” rises 13-10 on Hot Country Songs, awarding the Sunnyside, Wash., native his first top 10. His co-written single drew 8.8 million streams (up 13%) and sold 2,000. On Country Airplay, it climbs 39-33 (4.5 million impressions, up 33%). The song follows Top’s “Sounds Like the Radio,” which reached Nos. 29 and 15 on the charts, respectively.
If you thought that we were finished with major releases for the 2024 calendar as we approached Thanksgiving and the beginning of year-end season, Kendrick Lamar let you know real quick that the year ain’t done yet.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Two Friday afternoons ago (Nov. 22), Lamar snuck up on an unsuspecting public with the sneak-release of his previously announced new album GNX. The 12-track set builds on the momentum he established earlier this year with his Drake feud — which produced a pair of Billboard Hot 100 No. 1s in the Future and Metro Boomin collab “Like That” and his own “Not Like Us” — and produces a third Hot 100 No. 1 with “Squabble Up,” tops among the seven new songs the rapper launches into the top 10 this week, while also topping the Billboard 200 with 319,000 units moved.
Which is the most impressive of his current chart achievements? And how do we rate Kendrick Lamar’s 2024 at this point? Billboard staffers discuss these questions and more below.
Trending on Billboard
1. Kendrick Lamar’s GNX debuts atop the Billboard 200 with 319,000 first-week units — the biggest debut week for a rap album in 2024, despite no physical release and just 12 tracks’ worth of streaming totals — while also capturing seven of the top 10 spots on the Hot 100, including the entire top five. Which of the two achievements is more impressive to you?
Kyle Denis: I think the Hot 100 feat is a bit more impressive. The first-week units total for GNX is commendable, but the figure is squarely in Kendrick’s usual ballpark. Occupying the Hot 100’s entire top five – in the face of the fast-rising holiday songs and some of the most stable smashes of the year – is the kind of feat that moves Kendrick into a different column. Tons of acts have had albums debut with over 300,000 units, but only three other acts – The Beatles, Taylor Swift and Drake – have simultaneously held the top five spots on the Hot 100. That’s the kind of stat that helps get you to GOAT status.
Angel Diaz: I think both are equally as impressive. Selling that many units off pure streams and debuting No. 1 with no lead up or warning other than the GNX trailer he posted minutes before the album hit, is crazy when you look back on that fateful Friday afternoon here on the East Coast. But it’s also very cool to see “underground” West Coast rappers like Lefty Gunplay and Dody6 getting their first Hot 100 looks thanks to Kendrick. That’s unheard of in today’s landscape.
Jason Lipshutz: The latter, not just because it’s a chart achievement that only Taylor Swift, Drake and The Beatles have done before, but because flooding the top 5 of the Hot 100 demonstrates how much bigger GNX is than Kendrick Lamar’s other recent output. After all, 2022’s Mr. Morale & The Big Steppers debuted with two songs in the top 5 of the Hot 100 and three total in the top 10 — impressive for any artist, but literally half as impressive as what Lamar just accomplished with GNX. A new Kendrick Lamar album was always going to be in contention for the biggest rap debut of the year, but we’ve never this level of consumption of his songs on the Hot 100, and that chart feat showcases the album’s true enormity.
Michael Saponara: MUSTARDDDD. I’d have to go with occupying the entire top five of this week’s Hot 100 as, ironically enough, Drake was the only rapper to ever do that before him. Kendrick’s had a commercial resurgence that just wasn’t as potent earlier in the decade and there’s something to be said that the Compton rapper has notched more No. 1 hits in 2024 than the rest of his decorated career combined. He’s also the first rhymer to have three No. 1 debuts on the Hot 100 in the same calendar year.
Andrew Unterberger: Hot 100 for sure. He’s had Billboard 200-dominating albums before but he’s never blanketed the Hot 100 like this — to the point where he might even end up in the mix to have multiple No. 1s from the album before all is said and done. It’s crazy to see him so central to popular music right now, but obviously well-deserved.
2. GNX fell out of the sky on Friday at noon ET, with no advance warning. Do you think that promotional strategy ultimately helped, hurt or had no major effect on the album’s first-week performance?
Kyle Denis: I honestly think it may have hurt the album’s first-week performance. With his run of diss tracks this spring and summer and a general elevation of his celebrity, Kendrick had millions of consumers ready to eat up whatever project he put out. I think giving people some notice, even if it was just 24 hours, would have resulted in slightly better numbers than a full-on surprise drop. A bit of notice would have allowed fans to mobilize and create their own listening experiences and made for a seamless DSP uploading process — GNX reportedly took over an hour to appear on streaming platforms for some users. These are small things, but they’re the kinds of moves that could have at least helped the album get closer to the 350,000 range. Not to mention, a pre-announced release date would have also given Team Kendrick time to get physical copies of the album available upon release – but that would also depend on when K.Dot finished the album.
Angel Diaz: First of all, I’m sick of these surprise releases, man. I am begging for artists to chill out because they are making us lose our minds on a Friday and into the weekend. With that being said, as a fan, I love it and everyone I knew that’s not in this business were playing that album. You heard it at the barbershop over the weekend and out of car speakers, so yeah I definitely think that strategy had a major effect, especially for the casual fan seeing the chatter on social media and hitting play out of pure curiosity. The album being so good and having so much replay value also helped.
Jason Lipshutz: The surprise release has become a tactic generally reserved for superstars… and since Kendrick Lamar is one of our biggest, the out-of-nowhere drop absolutely helped him here. The shock of GNX — no leaks, no heads-up, just a brand new Kendrick album to stream on your Friday lunch break — defined the pop culture discourse of that day, and immediate reactions began to bubble up on social media to keep streams high through the weekend. Not every A-lister could pull off that type of unveiling, but Lamar did here, and scored one of the biggest debuts of his career in the process.
Michael Saponara: I don’t think there was much of a major impact with the surprise release. To be honest, I kind of expected something along those lines from the elusive K. Dot rather than a traditional rollout. He only lost 12 hours so that resulted in a minimal lagtime in spreading the word that rap’s boogeyman had returned. Between the Drake feud and the anticipation from fans for a new project, there really was no wrong way for Lamar to deliver his next album.
Andrew Unterberger: I don’t think it really matters for its commercial performance — he could have released this album any which way and it still would’ve probably done about this well. But for maintaining the overall excitement level of his 2024, this was probably the best way to go.
3. “Squabble Up” debuts atop the Hot 100 this week as the top-performing song from the new album, but it has already been passed on the daily streaming charts of both iTunes and Spotify by both “TV Off” and “Luther.” Which of the three songs do you think will ultimately be the biggest hit from the set?
Kyle Denis: Of the three songs, I think “TV Off” will have the biggest peak, but I also anticipate “Luther” following a similar trajectory to that of “Love,” Dot’s 2017 duet with Zacari. “Luther” might not ever reach the top of the Hot 100, but I expect it to have impressive longevity and stay on the charts longer than any other GNX track.
Angel Diaz: I love “Luther”, but I really hope the West Coast street anthems like “Squabble Up” and “TV Off” stand the test of time and continue to perform in the future. So, to answer the question, I’ll put money on “Squabble Up.”
Jason Lipshutz: “TV Off” and “Squabble Up” are the album’s two turn-the-volume-way-up anthems, and while “Squabble Up” likely benefited from being placed second on the track list and gaining listeners’ immediate attentions, “TV Off” is the more enduring battle cry, thanks to the stronger K. Dot flow, positively nasty beat switch and the instantly meme-able “MUSTAAAAAAARD” moment. Who knows? Maybe once the holiday music onslaught subsides, Kendrick can kick off 2025 with another Hot 100 chart-topper.
Michael Saponara: I’m gonna go with “TV Off” as the winner here. It’s topped the Apple Music charts and spurred a ton of chatter on social media with endless meme-ability thanks to Kendrick’s pair of “MUSTARDDD” shout-outs to the track’s producer. Lefty Gunplay’s ominous chorus has also been going viral. We’ll see what kind of staying power the trio has at the top of the Hot 100, especially with rumors of a deluxe falling out of the sky from K. Dot.
Andrew Unterberger: Yeah prepare for a lot of out-of-nowhere “MUSTAAAAAAAAARD” howls in casual conversation this holiday season.
4. Between his three No. 1 singles and now a No. 1 album as well, this is undoubtedly Kendrick Lamar’s biggest year on the Billboard charts. Do you think he ever would have had a year like this if not for the Drake feud that initially ignited it, or do you think he was due for such a legacy year at some point in his career regardless?
Kyle Denis: I think he was definitely due for a year like this – and the DAMN./Black Panther period would have sufficed if this year had never happened – but I’m not sure he gets it in 2024 specifically without the Drake feud.
Angel Diaz: I think he was due for a legacy year, but this is the way you do it in rap. This is the same thing Jay-Z did when he dissed Nas on “Takeover” the summer before he released his seminal album The Blueprint in 2001. However, Nas was nowhere near the level Drake was commercially, and Jay dissing him ironically resurrected his career while also placing Jigga on the throne. Rap really hasn’t had a power struggle for the crown since then. Did it benefit him? Sure. But he took the throne fair and square.
Jason Lipshutz: This type of year was always lurking within Kendrick Lamar, a singular superstar with a nearly unanimous approval rating, but 2022’s Mr. Morale suggested that he was turning away from commercial prospects in favor of idiosyncrasies and self-examination. Maybe a course-correction was coming, but the Drake feud — and before that, the talk of a “Big Three,” placing Kendrick on the same field as his peers when he believed he was playing a different sport — helped focus his superpowers, and provoke a year-long assault against his naysayers, October’s Very Own included. GNX is not about Drake, per se, but the album punctuates the assertion that Kendrick has spent 2024 making: there is no competition.
Michael Saponara: To this level, I can’t say I saw that coming. He hasn’t been that same kind of commercial titan since DAMN. and that’s over seven years ago at this point. There’s an argument Lamar was due for a “legacy year,” but I think the Drake feud added kerosene to the fire and gave him the lane to become rap’s undoubted MVP for 2024. It’s the biggest rap battle in decades between two of the greatest to do it, so of course it’s going to have a profound impact on the winner. But again, I’ll say I was wrong in that if there was a hit record to come out of the battle, I thought that was going to be Drake.
Andrew Unterberger: He might’ve been due for more of a commercial on cycle — since Kendrick has long sort of been on a one-for-them, one-for-me career path — but you have to imagine that he needed the Drake thing to take him to this. We’ve just never seen Kendrick Lamar get his blood up like this for an entire year before. It must have been something that was stewing in him for some time.
5. Is this the best year a rapper has had this decade?
Kyle Denis: I’m going to say yes. Shoutout to Megan Thee Stallion’s 2020 and Doja Cat’s 2021, though!
Angel Diaz: I think that’s fair to say, but going back a little further, we must remember Future’s 2015 run when he dropped Beast Mode, 56 Nights, DS2 and What a Time to Be Alive. Big Fewtch also had himself an impressive 2024 — with three Billboard 200 No. 1 albums — that was a bit overshadowed by Drake and Dot’s main event.
Jason Lipshutz: Yes, because Kendrick Lamar’s 2024 combines great music with a great narrative — enormous singles, blockbuster collaborations and a no-skips album coalescing around a battle that’s heated, personal and entertaining as hell. His year has transcended stats and honorifics, and become a cultural phenomenon. It’s one that hip-hop fans are never going to forget.
Michael Saponara: Yeah, I can’t see there being much debate about that. Not only the decade, but let’s open that up to the century. Then you’re talking Drake’s ‘18, Ye’s 2010-11, Wayne’s ‘07-’08 and 50 Cent’s 2003 off the top of my head, and Kendrick belongs in that discussion. Three No. 1 hits, one of which flipped the script against rap’s pop deity to defeat him in battle, and an acclaimed album that popped up as a late contender for album of the year honors. Oh, and it’s possible he’s sweeping at the Grammy Awards a month into 2025 before heading out on a stadium tour. This was one for the history books, Dot.
Andrew Unterberger: Hell yeah.
The cast of the new Wicked film has an explosive week on Billboard’s charts, thanks to the release of the film’s soundtrack on Nov. 22.
The set soars in at No. 1 on Billboard’s Top Album Sales, Soundtracks and Vinyl Albums charts (all dated Dec. 7, 2024), while also opening at No. 2 on the overall Billboard 200. It scores the highest Billboard 200 debut for a big-screen adaptation of a stage musical ever, dating to the list’s 1956 launch as a regularly published weekly chart.
Seven songs from the Wicked soundtrack concurrently debut on the Billboard Hot 100, led by “Defying Gravity,” by Cynthia Erivo and Ariana Grande, who play the film’s leads, Elphaba Thropp and Galinda Upland, respectively. Meanwhile, multiple members of the cast, including Erivo, earn their first career Hot 100 entries.
Here’s a recap of every song from the Wicked film on this week’s Hot 100.
Trending on Billboard
Rank, Title, Artist Billing
No. 44, “Defying Gravity,” Cynthia Erivo feat. Ariana Grande
No. 53, “Popular,” Ariana Grande
No. 68, “What Is This Feeling?,” Ariana Grande & Cynthia Erivo
No. 86, “No One Mourns the Wicked,” Ariana Grande feat. Andy Nyman, Courtney-May Briggs, Jeff Goldblum, Sharon D. Clarke & Jenna Boyd
No. 90, “Dancing Through Life,” Jonathan Bailey feat. Ariana Grande, Ethan Slater, Marissa Bode & Cynthia Erivo
No. 93, “The Wizard and I,” Cynthia Erivo feat. Michelle Yeoh
No. 94, “I’m Not That Girl,” Cynthia Erivo
Erivo, Nyman, Briggs, Goldblum, Clarke, Boyd, Bailey, Slater, Bode and Yeoh all score their first Hot 100 entries. Grande, of course, is a veteran of Billboard’s charts, having now charted 90 total Hot 100 hits. She boasts eight No. 1s, including two this year: “Yes, And?” and “We Can’t Be Friends (Wait for Your Love)” from her latest solo album, Eternal Sunshine.
While Erivo and Goldblum appear on the Hot 100 for the first time, both have previously appeared on other Billboard charts. Erivo’s debut solo studio set, Ch. 1 Vs. 1, reached No. 44 on Billboard’s Top Current Album Sales chart and No. 77 on the overall Top Album Sales chart in October 2021. Plus, her song “Stand Up,” from the 2019 Harriet Tubman biopic Harriet, hit No. 31 on Digital Song Sales. Erivo played Tubman in the film, a portrayal that earned her a nomination for best actress at the 92nd Academy Awards in 2019. “Stand Up” also earned her a best original song nomination.
Erivo previously played the lead in the Broadway revival of the musical The Color Purple. She won several accolades for her performance as Celie, including the Tony for best leading actress in a musical at the 70th ceremony in 2016; a Grammy for best musical theater album (for The Color Purple soundtrack); and a Daytime Emmy for outstanding musical performance in a daytime program in 2017.
Goldblum, who plays the Wonderful Wizard of Oz in Wicked, reached Billboard’s charts for the first time in 2018 with his debut studio album, The Capitol Studios Sessions. The set, with the Mildred Snitzer Orchestra, hit No. 1 on Billboard’s Jazz Albums and Traditional Jazz Albums charts. It includes collaborations with comedian-actress Sarah Silverman, jazz trumpeter Till Brönner and singers Imelda May and Haley Reinhart. He returned to the charts in 2019 with his follow-up album, I Shouldn’t Be Telling You This, which reached No. 2 on both Jazz Albums and Traditional Jazz Albums.
Nyman, Briggs, Clarke, Boyd, Bailey, Slater, Bode and Yeoh are all brand new to Billboard’s charts. In Wicked, Nyman portrays Governor Thropp (Elphaba and Nessarose’s father), Biggs plays Mrs. Thropp (their mother), Clarke voices Dulcibear, Boyd voices Wolf Doctor, Bailey plays Fiyero Tigelaar, Slater plays Boq Woodsman, Bode plays Nessarose Thropp and Yeoh plays Madame Morrible.
Wicked has even generated a radio chart hit, as Grande’s “Popular” debuts at No. 40 on Pop Airplay, thanks to plays on stations including KMVQ San Francisco, WBLI Long Island, N.Y., and SiriusXM’s Hits 1.
Karol G’s smash “Si Antes Te Hubiera Conocido” claims a 20th week at No. 1 on Billboard’s Latin Airplay chart (dated Dec. 7).
With the new week in charge, “Si Antes Te Hubiera Conocido” ties with four other songs for the second-most weeks at No. 1 since the chart launched in 1994. The song now ties Son By Four’s “A Puro Dolor” (2000), Juanes’ “Me Enamora” (2007-2008), Flex’s “Te Quiero” (2008), and “Bailando” by Enrique Iglesias, featuring Descemer Bueno and Gente de Zona (2014). Ahead of them is Shakira’s “La Tortura,” featuring Alejandro Sanz, with 25 weeks at No. 1 in 2005.
“Si Antes Te Hubiera Conocido” rules Latin Airplay in its 20th week with 15.5 million audience impressions earned in the U.S. during the Nov. 22-28 tracking week, according to Luminate. That’s a 23% gain from the week prior. The song takes the Greatest Gainer honors, awarded weekly to the title with the largest increase in audience.
Earlier in 2024, Karol G became the first artist to rule the Hot Latin Songs, Latin Airplay and Tropical Airplay charts simultaneously since 2014, when “Si Antes Te Hubiera Conocido” landed at the summit on the multi-metric tally, the overall radio list, and the Tropical Airplay tally (July 29-dated charts).
Trending on Billboard
Further, on the Oct. 19 chart, “Si Antes Te Hubiera Conocido” claimed the record for the most weeks at No. 1 on Latin Airplay for a song by a female soloist, unaccompanied by any other act, when it reached its 14th week at No. 1. Previously, the most weeks atop the list for a song by a female artist unaccompanied by another act was Pilar Montenegro’s “Quítame Ese Hombre” (13 weeks in 2002).
Elsewhere, “Si Antes Te Hubiera Conocido” adds a 21st week at No. 1 on Tropical Airplay, the third-longest leading song, after Prince Royce’s “Carita de Inocente” which continues to dominate with 29 weeks on top, and Daddy Yankee and Marc Anthony’s “De Vuelta Pa’ La Vuelta” with 22 weeks in charge.
Chris Brown bags a milestone 20th No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart with “Residuals.” The single crowns the list dated Dec. 7 and was the most-played song on U.S. monitored mainstream R&B/hip-hop radio stations in the tracking week of Nov. 22 – 28, according to Luminate.
“Residuals” ascends from the runner-up spot after a 4% gain in weekly plays. As the track rises, it knocks GloRilla’s “TGIF” to No. 2 after the latter completed a 10-week nonconsecutive reign, including the last nine straight frames. The new champ is Brown’s second chart-topper on the radio ranking in 2024, after “Sensational,” featuring Davido and Lojay, ruled for one week in March.
With a 20th No. 1, Brown matches Lil Wayne’s career count for the second-most among all acts since the chart began in 1992. The pair trail only Drake, who sits in first place with 46 leaders. Here’s a recap of the artists with the most No. 1s on Mainstream R&B/Hip-Hop Airplay:
Trending on Billboard
46, Drake20, Chris Brown20, Lil Wayne17, Usher13, Beyoncé
“Residuals” appears on the deluxe edition of Brown’s latest studio album, 11:11, and became a fan favorite, with many clips shared of Brown performing the track during spring and summer tour stops. Rising attention sparked its debut on the multi-metric Hot R&B Songs chart in April before its official push to radio began in mid-August. The single received a Grammy Award nomination for the upcoming ceremony for best R&B performance.
[embedded content]
Brown first topped Mainstream R&B/Hip-Hop Airplay when he and Johnta Austin featured on Bow Wow’s “Shortie Like Mine” on the Dec. 9, 2006, chart. His first champ in a lead role came exactly a year later – on the Dec. 8, 2007, ranking – when “Kiss Kiss,” featuring T-Pain, captured the summit.
Here’s a full review of Brown’s No. 1 collection on Mainstream R&B/Hip-Hop Airplay:
Song Title, Artist (if other than Chris Brown), Weeks at No. 1, Date Reached No. 1“Shortie Like Mine,” Bow Wow featuring Chris Brown & Johnta Austin, two, Dec. 9, 2006“Kiss Kiss,” featuring T-Pain, two, Dec. 8, 2007“With You,” one, March 22, 2008“Deuces,” featuring Tyga & Kevin McCall, 10, Sept. 4, 2010“No BS” two, Feb. 5, 2011“Look at Me Now,” featuring Lil Wayne & Busta Rhymes, seven, April 4, 2011“Strip,” featuring Kevin “K-Mac” McCall, two, March 31, 2012“Birthday Cake,” Rihanna featuring Chris Brown, three, May 19, 2012“It Won’t Stop,” Sevyn Streeter featuring Chris Brown, eight, Nov. 30, 2013“Loyal,” featuring Lil Wayne & French Montana or Too $hort or Tyga, nine, May 17, 2014“New Flame,” featuring Usher & Rick Ross, Oct. 18, 2014“Hold You Down,” DJ Khaled featuring Chris Brown, August Alsina, Future & Jeremih, three, Nov. 15, 2014“Only,” Nicki Minaj featuring Drake, Lil Wayne & Chris Brown, four, Jan. 10, 2015“Post to Be,” Omarion featuring Chris Brown & Jhene Aiko, six, May 23, 2015“All Eyes on You,” Meek Mill featuring Chris Brown & Nicki Minaj, three, Sept. 19, 2015“No Guidance,” featuring Drake, 10, Aug. 10, 2019“Go Crazy,” with Young Thug, six, July 18, 2020“Under the Influence,” eight, March 11, 2023“Sensational,” featuring Davido & Lojay, one, March 16, 2024“Residuals,” one (to date), Dec. 7, 2024
Elsewhere, “Residuals” holds at No. 2 for a third consecutive week on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience on monitored adult R&B and mainstream R&B/hip-hop stations. There, it climbed to 15.6 million in weekly audience, up 6% from the previous period. It also inches 28-27 on Adult R&B Airplay, thanks to a 9% pickup in plays.